I just ruthlessly cut one of my very favoritist scenes. This was a scene I'd envisioned from the very first conception of the story and I just eviscerated it.
AUGH!Which begs the question—at what point do you sacrifice flavor and atmosphere for pacing?
*sigh*
ETA: Okay, I'll post at least a snippet of the scene. Why not, right?
Set up—this is just one of the ways in which drum & bugle corps geeks pass the time on looooonnnnnng drives
***
As the bus shifted into gear and began slowly pulling out of the parking lot, a shrill, cab-hailing whistle drew our attention to the front where Raj was holding court over the entertainment unit. Still blew my mind, every time I stepped on this bus. It was unreal, all comfortable seats and roomy overheads and television screens every few rows with a killer sound system. Again, mad props to the
viejitas and their love for the bingo, allowing us to travel in style.
"Music or movies, people?"
Squinting up towards the front, I could just tell he was waving around one of the Lord of the Rings movies.
"
Por tú madre, Raj, please, no more Legolas," I yelled out, which earned me an elegant finger, but I was the one with the reinforcements as other voices chimed in with, "Yeah, save the movies for when we're driving through Iowa and corn fields for days."
"Fine, you cranky bitches—music it is." But he didn't actually give us any choices, quickly selecting a CD and slipping it in. Then proceeded to sit back and grin like an idiot as the opening strains of "Bohemian Rhapsody" flowed through the speakers and we all laughed our collective asses off.
Next to me, Jonathan was grinning as we watched Raj doing his best overwrought conductor routine, cueing one half of the bus, then the other, to sing along with the various parts. Even I joined in, even though my voice wasn't exactly what anyone would call lyrical, but then again, finesse wasn't exactly what we were going for here. This was loud, with a hefty side of dramatic, especially as we got to the operatic interlude, with its "scaramouche" and "fandango" and at the very end of it, that insane falsetto note that Jonathan, who'd been singing louder and louder, let loose with, hitting it perfectly, and sending me into a fit of hysterical laughter.
After that, it was total Wayne and Garth, with the headbanging and the air drumming and more laughter and Jonathan, holding me tight against him and looking so carefree as he smiled and joked with the guys around us, it made my heart turn over.
He looked down at me, face flushed all over again.
"God, I should've quit the horn bus way before this."
"You don't do this on the horn bus?"
"Oh, we listen to music, sure, but it's always some hardcore jazz or something seriously progressive and obscure. Or old corps shows—those are always popular. A lot of times, too, we'd play through the show on our mouthpieces—trying to get it ever more perfect."
"Are you serious?"
"It's more fun than it sounds."
Who was he trying to convince, me—or him?
"Really?" Not trying to sound judgmental—honestly. Especially with the way the smile was fading from his face.
"I thought so," he admitted with a shrug, ducking his head down, face turned away.
"Hey." I stroked my fingers through his hair and along his jaw until he looked at me again. "I used to think ten hour ballet rehearsals rocked. We're evolving."
His hand rose to trap mine against his cheek. "Couldn't do it without you."
Although his words made me go equal parts warm and fierce inside, I felt compelled to reassure him. "Sure you could."
Slowly, he shook his head, his lips brushing against my palm which had the effect of making me feel his words as well as hear them. "No, I really couldn't."